Cliff Doerksen on Black Metal doc Until The Light Takes Us, pinpointing some larger issues about Black Metal and the excuses people make for it's troubling spots:
Aites and Ewell's capacity to idealize these thugs appears to be informed by a credulous and highly selective response to what passes for political thought among them. Their worldview is a chowder of ideological cliches generously seasoned by standard-issue skull-and-pentagram aesthetics: they invest cosmic importance in musical anticommercialism, fancy themselves inheritors and defenders of pre-Christian paganism, and espouse a vulgar McDonald's-sucks line of anti-globalization. They sound more like cultural studies majors than shock troops of Odin ("I think it's to a big extent nauseating to see the beauty of specific cultures being contaminated by the not-so-beautful facets of other cultures"), and this is sufficient to get Aites and Ewell past their cheap, crypto-fascist nihilism and murderous homophobia. Burning the churches, burbles Ewell on the film's Web site, "was more about a symbolic negation of globalization, because the last big wave of cultural imperialism had been Christianity coming in and raising [sic] the heathen places of worship and erecting churches on top of them. It's so metaphorical, so symbolic and so doomed to misinterpretation."